Once I started on 'Frances' I discovered it was literally a bottomless well. It devastated me to maintain that for eighteen weeks, to be immersed in this state of rage for twelve to eighteen hours a day. It spilled all over, into other areas of my life.

There's something magical still about it when I get in a darkroom, and you've shot a roll of film and you develop it and you look at your negatives, and there's like imagery there. That always stuns me.

That's always been like a fascination to me - watching my family, three sisters and a brother and all growing up basically in the same situation and each one being so totally different and going on to completely different areas and directions. But for me to go into psychoanalysis really steadily, would be putting too much energy into trying to figure out why I am the way I am... Basically this is how I am and it's alright and I don't want to know why I'm this way.

When I am home for like a two-year stretch, I get antsy, because I want to work.

Photography was a blessing because it filled my time.

To work with a director that has emotional commitment and passion toward the characters, and the piece, and the experiences, it only enriches your work.

I have always followed the most passionate course.